American Cinematographer - February 1990 - 89

From The Clubhouse
Ronald

and

and the Fatman. Other credits include the
1989 version of Dinner at Eight, the

The Ultracam 35mm, the Tech¬
noflex 35mm, the Showscan 65mm (in
association with Cinema Products), the
reflex VistaVision 200 and 100 fps reflex
cameras and IMAX 120 fps reflex cam¬
eras were created at Williamson's facil¬

Vargas is the latest director of
photography to become an active mem¬
ber of the ASC.Vargas' work is currently
a feature of the popular TV series, Jake

RiptideTM series, Studio 5-B, Hill Street
Blues and Zorro and Son.
"I started as a film loader at
Warner Bros, in 1965 and went to 20th

Century Fox that same year as a second
assistant cameraman," Vargas recalled.
"I became a first assistant in 1966 on the
Green Hornet show and worked as an
assistant until 1971." His first show as a
operator was Now You See Him,
Now You Don't, which Vargas describes
as "the perfect title for a first time opera¬
tor." He worked for ASC members Char¬
les Wheeler, James Wong Howe, Frank

produced special parts for Introvision
Systems.

ity in Santa Monica with a small crew
none of the advantages available in
a larger corporate setting. His adaptation
of the Flight Research camera into the
Image 300 Camera has become one of
the essential tools of high speed, pin
registered visual effects photography.
and

♦ ♦ ♦

camera

Phillips, Haskell Wexler and Fred Koenekamp before he became a director of
photography in 1982 on the Disney six
part miniseries, Gun Shy.
♦ ♦ ♦

H. A.

"Hap" Parker, general
manager of the Fuji Professional Motion
Picture Products Division, has been
elected an ASC associate member.

Parker, who was born in Hon¬
olulu in 1936, has been with Fuji for 17

and began working in the motion
picture area two years ago. He is head¬
quartered in Hollywood.

years

♦ ♦ ♦

Geoffrey H. Williamson, noted
design engineer and manufacturer of
motion picture cameras and equipment,
is now an associate member of the ASC.
A veteran of 41 years in the industry,

"Images and Obsessions: the
Cinematography of Vilmos Zsigmond,
ASC," is a series of programs held Janu¬
ary 5 through 26 at the American Mu¬
seum of the Moving Image in Astoria,
New York. The program, which was the

Composition" at UCLA Extension March
5 through 10. The six-meeting workshop
can be attended only by consent of the

annual series of tributes to

to work on scenes in five locations. Each

outstanding cinematographers, included
a personal appearance of Zsigmond on
January 7 to discuss his work on The

participant functions as director of pho¬
tography in one scene and as crew

second in

Deer Hunter.
Other titles shown were Close
Encounters of the Third Kind, Heaven's

Gate, McCabe and Mrs. Miller, Revolt in

Hungary, Images, Pulse ofLife, Cinderella
Liberty, This is Larry, The Bose, Obses¬

son

in

Born in Montevideo, William¬
became world famous in auto racing

England in the late 1940s and at the

same

time

was

director of Williamson

Photographic Appliances, Ltd., where he
designed industrial and medical motion
picture and still cameras. In 1962, as
chief engineer for L-W Photo, Inc., he
designed flickerless projectors in 16mm,
35mm and 70mm. He started Wilcam in
1970 and shortly afterward he made the
first single system sound Super 8 reflex
camera.

Later, he designed the 16mm

sound Mitchell-Wilcam reflex

camera

on

the submission of

a

addressed the Sub¬

resume.
Students divide into into crews

Patents, Copyrights

professional

members in others. Crews shoot 35mm
color slides to storyboard their scenes.

Subject to availability, Panavision 35mm
lighting package from Lee
America West, and film and processing
are provided.
cameras, a

Resumes

can

be submitted to

sion, Blow Out, The River, Deliverance

Marilyn White, Performing Arts, UCLA

and The Witches of Eastwick.

Extension, 10995 Le Conte Avenue, Los

Zsigmond also will conduct a
cinematography for media
professionals February 23, 24 and 25 at

Angeles, CA 90024. The enrollment fee
is $695, including equipment rental fee.

the International Film & Television Work¬

Andrew Laszlo, ASC, recently
discussed the evolving art and science of

seminar in

shops in Houston, Texas.
♦ ♦ ♦

on

and Trademarks of
the Senate

Judiciary
Committee, United
States Senate, last
October 24.

They

stated for the record
the ASC view that

cinematographers
have moral rights
regarding
exhibition of motion

pictures they have
co-created.

♦ ♦ ♦

among

filmmakers in Japan, South Korea and
Taiwan as part of an ongoing educational

turers named for the

program

the four distinguished guest lec¬
Academy of Televi¬
sion Arts and Sciences' "Academy Rep¬
ertory Group," which is completing its
first successful year. The group currently
has 50 members who meet weekly at
Paramount Studios.
Also named

committee

cinematography with hundreds of

Richard Glouner, ASC, is

Williamson heads Wilcam Photo Re¬

search, Inc.

an

instructor based

David W. Fleming,
general counsel,
and Stanley Cortez,
ASC, as they

sponsored by Eastman Kodak
Company. Laszlo's credits include The
Naked City (TV), The Warriors, Streets
of Fire, Inner Space, Star Trek: the Final
Frontier, and Ghostdad.
The two-day seminars were
Tokyo, Seoul and Taipei during
November and December. Topics in¬

held in

producerexecutive Jay Bernstein, television direc¬
tor Bob Bender, and acting coach Ned

cluded discussions of the duties of the

Manderino.

director of

were

♦ ♦ ♦

Earl Rath, ASC, is scheduled to
teach the "Intensive Cinematography

photography in the United

States, cameras, lenses, film stocks and
other tools, production preparation, and
lighting.
▲

Project: Location Lighting, Staging, and

February 1990

American

Cinematographer

87
American Cinematographer - February 1990

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